DOCSLIB.ORG

Casting, Audition, & Rehearsal Roadmap

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Casting, Audition, & Rehearsal Roadmap Casting, audition and rehearsal road map An Introduction Dear Parents, We are so excited your actor is registered for this year’s spring production! For those who are new to the program, welcome to the JPAS family. My name is Alise Robinson and I am the Director of the J Performing Arts Space and the Producer for The Jungle Book KIDS and Into the Woods JR. This is going to be such an amazing journey. Our stellar production team can’t wait to begin! Enclosed is your casting, audition and rehearsal roadmap. Please read through it carefully. Over the next few months, we will become a theater family! Producing The Jungle Book KIDS and Into the Woods JR. will encompass using all of our collective (artistic staff, actors, parents) positive energy, commitment and dedication. so in advance, we appreciate your support. Each week, your actor will be working hard, learning new artistic and life skills, making new friends and building confidence. The creative process is so fulfilling. We can’t wait to watch it unfold. Let the theater magic begin! With all good wishes… Shine Bright, Alise Auditions OUR AUDITION PROCESS IS SET IN A NURTURING, SUPPORTIVE AND INTERACTIVE ENVIRONMENT! MASKS ARE WORN AT ALL TIMES. DATES/TIMES • The Jungle Book KIDS cast (ages 7-11): Wednesday, January 6, 4:30 - 8:30 pm in the Zale Auditorium • Into the Woods JR cast (ages 12-18): Thursday January 7, 4:30 - 8:30 pm in the Zale Auditorium. • Actors are expected to arrive promptly at the required call time and will stay the entire duration. • Please pack water and a sandwich or snack for your child with their name written on it. WHAT TO PREPARE • Actors must completely fill out the audition form and bring three copies to auditions (download and print). • Actors must also fill out their measurements sheet for costumes and bring one copy to auditions (download and print). • Actors also need to bring three headshots (does not need to be professional quality). Please have a headshot paperclipped to each audition form. • Actors will need to be prepared to sing “Bare Necessities” for The Jungle Book KIDS auditions and “Giants in the Sky” for Into the Woods JR. auditions. The sheet music and MP3 can be found at jccdallas.org/audition. • Actors should be prepared to show off another special talent (beyond singing, dancing and acting) so if they play an instrument, can tumble, juggle etc…we want to know. They can bring their “tools” if they want. • Actors need to wear comfortable clothes to dance in and wear sneakers or dance shoes. • Very important: Actors are expected to be at all rehearsals and any “must have” conflicts (date/time)must be listed on the audition form. It is mandatory that we know of any conflicts in advance, for casting and scheduling purposes. • Tech week rehearsals and performance/film days are mandatory. OVERVIEW OF AUDITION DAY • Actors sign in and will be greeted with a warm smile. • Actors will be divided into two groups (12 max). • Actors will engage in a socially distanced group meditation to clear their minds and unify the group with positive energy. • Actors will do a warm-up theater game to get out the wiggles and get everyone having fun. • Actors will then rotate in their groups. One will learn a group dance; one will learn a group song to warm up their vocals. This is a great opportunity for everyone to begin to bond and get comfortable. • Actors will then perform their group dance and song numbers. Actors will then switch groups. • Actors will then individually sing their prepared song and have an opportunity to show their special talent, time permitting. • Some actors, at director’s discretion, will then do some scene work from the script. Reading material will be provided. Casting CAST DETAILS Please note if your child is 11 years old, they may be placed in either cast. • WEEKLY REHEARSAL SCHEDULE (ALL CASTS) • Sundays, January 10 - February 28 | 1:30 - 5:30 pm • Please note: additional rehearsal date on Thursday, March 4 | 4:30 - 8:30 pm • TECH REHEARSAL AND PERFORMANCE/FILM SCHEDULE Rehearsal time TBD based on casting. Final tech and performance/film schedule will be provided the week of January 10. • Sunday, March 7 | 1 - 5 pm or 5 - 9 pm • Monday, March 8 | 4:30 - 7:30 pm or 6 to 9 pm • Tuesday, March 9 | 4:30 - 8:30 pm • Wednesday, March 10 | 4:30 - 8:30 pm • Thursday, March 11 | 4 - 7 pm or 6 to 9 pm CASTING EXPECTATIONS • If your actor has a sibling and you request that they are in the same cast, we must know prior to auditions. Remember our goal is to provide your actor with the best opportunity posible so please be mindful of this specific request. • We require that you do the please do the following: 1. Email arobinson by Wednesday, January 6. In the subject line write, “same cast request” 2. Clearly mark in bold, at the top of the actor’s audition form, with whom you want your actor to be in the same cast with. • On Sunday, January 10, the first day of rehearsals, roles and casts will be announced. • Upon arrival for drop-off, your actor will be told what room to meet in. • Every role in a production is meaningful and important. We encourage you to begin sharing this well-known theater fact with your actors. • Our directors will work hard to ensure everyone has their time to shine on stage. Please keep this in mind, especially right after casting and kindly be patient. Rehearsals OVERVIEW • Rehearsals will be every Sunday starting January 10 from 1:30 - 5:30 pm through your actor’s final performance • Please drop off no later than 1:15 pm. • Actors are expected to be at all rehearsals. Your actor’s absence affects the entire cast, their own confidence and ability to remain current with what is being taught. • Tech rehearsals and performance/film days are mandatory. • Stay updated with what actors are learning every week by reading our blog. Important information, deadlines and exciting news will also be shared. Here is the link to our blog: jccdallas.org/jpasblog REHEARSAL EXPECTATIONS • All actors must wear a mask. • Please remind your actor to bring their scripts, a pencil and a highlighter to every rehearsal. • Actors need to wear comfortable clothes to dance in and wear sneakers or dance shoes. • Actors should bring a water bottle and a healthy snack (with their name written on it). Actors will not be permitted to use the vending machine. • Very important: Actors will be held accountable by their directors to practice between each rehearsal. Please encourage your actor to learn all the songs and practice their lines and dance routines during the week. This is a great chance for parents to get involved and for the whole family to have fun! • Use the resource library at jccdallas.org/rehearse where we post downloadable MP3s of all the songs, weekly choreography and songs learned at rehearsals. • Please play the songs in the car, at home and whenever possible. Rehearsing at home is an excellent way for actors to be prepared for each rehearsal. MANDATORY PARENT MEETING SUNDAY, JANUARY 10 AT 3 PM VIA ZOOM Please join me for an important parent meeting on the first day of rehearsals. • ¹ Our meeting will start promptly at 3 pm on Zoom. • ¹ A link for the meeting will be sent the week of January 5. • ¹ Official pick-up is at 5:30 pm. STAY CONNECTED AND SUPPORT YOUR ACTOR! • Join our facebook page at J Performing Arts Space. • Follow us on instagram at jpasdallas. • Post about your actor and tag us! Thank you! Let the Theater Magic Begin!.
Load more

Recommended publications
  • PLEASE READ THESE DIRECTIONS in FULL: Spreckels Theatre
    PLEASE READ THESE DIRECTIONS IN FULL: Spreckels Theatre Company announces it's Youth in Arts Summer Youth Program Disney's Sleeping Beauty, KIDS Music and Lyrics by Pyotr Ilyich Tchaikovsky George Bruns and Tom Adair, Winston Hibler and Ted Sears, Sammy Fain and Jack Lawrence Music Adapted and Arranged and Additional Music by Bryan Louiselle Book Adapted and Additional Lyrics by Marcy Heisler Based on the 1959 Disney film "Sleeping Beauty" and the story "Sleeping Beauty in the Wood" by Charles Perrault Stage Direction by Denise Elia-Yen Music Direction by Lucas Sherman Choreography by Michella Snider Performances on the Main Stage at Spreckels Performing Arts Center ********************************************************************* AUDITIONS: FRIDAY, June 16th, 5:00 p.m. – 8:30 p.m. *See below to arrange your audition slot if you are aged 10-17! CALLBACKS: SATURDAY, June 17th, 10:00 a.m. – 2:00 p.m. at director's discretion Auditions and Callbacks in the Condiotti Theater at Spreckels Performing Arts Center ********************************************************************* REHEARSAL SCHEDULE (please read carefully): July 16th, 17th and 18th: 6:00 p.m. - 9:00 p.m. Monday, July 24th thru Friday, July 28th: 9:00 a.m. - 3:00 p.m. Monday, July 31st thru Friday, August 4th: 9:00 a.m. - 3:00 p.m. Saturday, August 5th: Tech with cast 12:30 p.m. - 3:30 p.m. Sunday, August 6th: Cast and orchestra 12:30 - 6:00 p.m. Monday, August 7th, Tuesday, August 8th, Wednesday, August 9th and Thursday August 10th - 6:00 - 9:00 p.m. Friday, August 11th: actors prep at 4:00 p.m.
    [Show full text]
  • Why YOU Should Be an English Major
    Why YOU should be an English Major You’ll be able to communicate your ideas effectively. This is what employers want the most – people who can communicate clearly. Impress your employer with your ability to communicate, and you’ll get promoted. You’ll also sound smarter than everybody else. You’ll be able to learn new tasks and ideas. A liberal arts education teaches you how to learn, not how to do a specific job. Your employer will provide on-the-job training. Besides, the hot jobs of 20 years from now haven’t even been thought of yet; major in English, learn how to learn new job skills, and stay employed. You’ll be prepared for med school, law school, business school… Being an English major teaches you how to think critically. Graduate schools in every field are more interested in your ability to analyze situations and make connections between concepts than in your ability to memorize lists. You’ll get a good job. Major scientific, technological, industrial, and financial companies like to hire English majors. They want employees who can analyze problems, think up creative answers, and communicate those answers to coworkers. And an English degree teaches you to do all these things. You’ll earn lots of money. Well, maybe not as much as science graduates, but the 201 201 Payscale College Salary Report listed salaries for popular careers for English majors that ranged from $ to $ . 5- 6 40,000 76,000 You’ll move up the company ladder. Your English major taught you how to analyze problems, think creatively, synthesize intelligent solutions, and communicate those solutions to your bosses and coworkers.
    [Show full text]
  • Hollywood Movie Stars California History Section Display
    CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater.
    [Show full text]
  • In ACTING for FILM
    Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location.
    [Show full text]
  • Basic Actor Combatant Glossary 2012
    = BASIC ACTOR COMBATANT GLOSSARY March 2, 2012 This is a living document and while Fight Directors Canada seeks to keep this glossary up to date it is simply impossible to list all terms or techniques. Individual teachers may add to what is listed or suggest an alternative meaning or explanation for a particular term or technique. If there is a disagreement between what is written and what is taught in class the written test will err on side of the instructor. Section 1: General Stage Combat Terms Section 2: Footwork, Stance and Posture Section 2: Unarmed Section 3: Quarterstaff Section 4: Single Sword Section 5: Weapons and Accoutrements Section 6: Theatrical & Performance Section 7: Alternate Terms Section 8: Diagrams All references and definitions originally taken from, ‘The Complete Encyclopedia of Arms and Armour’ Claude Blair & Leonid Tarassuk, ‘The Martini A-Z of Fencing’ E.D. Morton, ‘The Art and History of Personal Combat’ Arthur Wise. They were subsequently edited by Todd Campbell, Siobhán Richardson, Kevin Robinson, Casey Hudecki, Daniel Levinson, Paul Gelieanu, Ian Rose, Simon Fon and Kirsten Gundlack Fight Directors, Canada wishes to express their gratitude to the above named authors and editors for their invaluable assistance. FDC Basic Actor Combatant Glossary – 02 25 2012 page 1 of 18 SECTION 1: GENERAL STAGE COMBAT TERMS SECTION 1: GENERAL STAGE COMBAT TERMS aikido roll: A roll that resembles the shoulder roll but rather than using both hand and arms to lower the body to the floor the dominate arm is curved and used to guide the upper body to the floor.
    [Show full text]
  • Duties of a Cinematographer in Creating a Film
    Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 824-827 doi: 10.17265/2159-5836/2016.07.013 D DAVID PUBLISHING Duties of a Cinematographer in Creating a Film Ikboljon Melikuziev State Institute of Arts and Culture, Tashkent, Uzbekistan The present article deals with the duties, role and methodical peculiarities of a cinematographer in creating a feature film. The development of creating artistic works in the high creative level and its process is comparatively analyzed within the progress of the Uzbek cinematography. Keywords: cinematographer, film director, critic, image, lightness, recurs, production, picture, plastics, rhythm, composition, editing, scenario, method Introduction The art of cinematography has not been studied widely. It is very difficult to express the description of a film by words. One must see the picture and just for this case a cinematographer’s artistic activity of many years needs careful study. They say, it is not written much about a cameraman’s work yet. In our opinion, the essence of their creativity involves expressing the method, plastics and descriptive decision of a ready feature film. The film supposedly is connected only with the name of a director as a single filmmaker. While criticizing a film they usually speak just about a director and leading actors. You can hardly find anything about a cameraman’s work. Naturally, it is not enough. However, a cameraman’s work spent for artistic picture demands a serious analyses and careful study. Undoubtedly, the right stylistics, artistically completeness of the form which strengthens the effective power of a feature film and accepting the film by the audience depends on the cinematographer’s skills.
    [Show full text]
  • General Guidelines for Auditioning Check the Play's Rehearsal and Production Schedule
    General Guidelines for Auditioning Check the play's rehearsal and production schedule Be quite certain you re available throughout. If you have conflicts, put them on your audition sheet. If you get cast, and then tell the director you have additional scheduling conflicts, you'll damage the production and--don't ignore this--give yourself a rotten reputation! Avoid looking for "your role" or casting yourself Instead, keep yourself open to any role. The Audition Don't worry about nerves Everyone gets nervous at auditions, even the old pros, and having a few butterflies can be a good thing. It is best to avoid worrying excessively about messing up or about what others auditioning might think of you. If you do happen to "mess up", don't get upset or walk off, just keep on going until you are finished. Dress comfortably Avoid costumes, but don't dress completely out of character either. Avoid big clunky shoes or jewelry that may impede your movement. Choose clothing that is simple, professional, and comfortable. Arrive early Get there well in advance so that you can check in and take time to warm up and fill out forms. Be professional in your attitude and actions Remember that your audition begins the moment you step into the theatre. Be confident, pleasant, respectful, and positive with everyone. NEVER apologize for your audition Unless you let us know it, we will assume that's exactly what you meant to do. Just in case we thought it was brilliant, don't telegraph that you think you blew it.
    [Show full text]
  • Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M
    Comparative Humanities Review Volume 3 Translation: Comparative Perspectives Article 1 (Spring 2009) 2009 Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M. Rittmayer Bucknell University Follow this and additional works at: http://digitalcommons.bucknell.edu/chr Recommended Citation Rittmayer, Allison M. (2009) "Translation and Film: Slang, Dialects, Accents and Multiple Languages," Comparative Humanities Review: Vol. 3, Article 1. Available at: http://digitalcommons.bucknell.edu/chr/vol3/iss1/1 This Article is brought to you for free and open access by Bucknell Digital Commons. It has been accepted for inclusion in Comparative Humanities Review by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. Translation and Film: Slang, Dialects, Accents and Multiple Languages Allison M. Rittmayer Bucknell University The birth of the cinema was initially regarded with great promise as a universal method of communication. This was partially true in the era of silent films as there was no need for translation before the introduction of inter-titles. The images filmed may have contained distinct cultural markers, thus rendering them somewhat foreign to spectators outside of the source culture; however, these markers could be absorbed in the way a painting is absorbed. Without linguistic intrusion, it was possible for spectators of foreign films to simply identify characters in regards to their appearance. This identification could also be made easier if the spectator knew what culture the film was coming from, in the way that paintings are understood by virtue of the culture that produced them. More often than not though, early silent films portrayed subjects that did not need any cultural translation.
    [Show full text]
  • Glossary of Filmmaker Terms
    Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
    [Show full text]
  • Stage Combat Character Analysis
    Marshall University Marshall Digital Scholar Theatre Faculty Research Theatre 3-2009 A Violent Character: Stage Combat Character Analysis T. Fulton Burns Follow this and additional works at: https://mds.marshall.edu/theatre_faculty Part of the Acting Commons Stage Combat Character Analysis By T. Fulton Burns It is so deceptively easy stating who your character is but it is over looked more often than you may think. A good character analysis is important in the actor/character relationship and here we will look at the key elements of character research and their specific relationships to the stage combatant. If you want a great source to consider I highly recommend Uta Hagen’s Respect for Acting because it has one of the most concise research options available. She lists her character analysis as follows: • Who am I? Character Characters in Romeo and Juliet have • What time is it? Century, year, season, day, minute training in combative techniques and this • Where am I? Country, city, neighborhood, level of expertise even reveals social status. Tybalt is a wonderful example because he house, room, area of room prides himself on his fighting abilities. One • What surrounds? Animate and inanimate objects could even argue that fighting and pride are all that he knows. The hatred he holds • What are the given circumstances? Past, present, future, and the towards another family (Montagues) based events upon principle and/or teaching, also molds him as a character. Also, how he fights is • What is my relationship? Relation to total events, other based upon the training he has received in characters, and to things his formative years.
    [Show full text]
  • Moss Has Training in Fencing and Stage Combat, and He Regularly Attends
    or as long as you’ve been teaching, the students to be safe. They’ll know Moss has training in fencing and you’ve had in your mind that perfect how to make it a part of the show, stage combat, and he regularly attends play to direct—a Shakespearean trag- rather than a fight that interrupts the workshops to keep his skills sharp. “For edy, say. Maybe Romeo and Juliet. acting. They can teach the students me,” he says, “the reality of being in a Now you have the actors who can things the teacher might not know. small school where you’re a one-stop carry it. The administration is behind “We don’t teach you how to fight. shop anyway is when I have money, I you. Your students are thrilled. We teach you how to act with vio- would rather spend it on an expertise I There’s just one problem. Almost lence. You want to learn how to fight, don’t have myself.” before you can bite your thumb, you can go watch wrestling,” says Both Martin and Rodgers hire chore- there’s a brawl with naked blades in New York-based fight director ographers, but they’ve also gained Act I, scene one. The year might be Michael Chin, who recently earned enough experience to teach or choreo- right for Shakespeare, but you have the title of fight master from the Soci- graph some of the basics without out- better things to do than face disas- ety of American Fight Directors. (He’s side help.
    [Show full text]
  • Nogodsland Nogodsland
    NOGODSLAND NOGODSLAND Laurent BARIOHAY Éric KAILEY Louis CONILH de BEYSSAC Claire BOUCTOT Valérie GASSE Tessa REMISE Isabelle LOUET Nordine El BOUKILI Mathieu BESNIER Alain BERT Alexa RUTHERFORD Hervé CAULERY Distribution : en cours 2011 Press :PROD2DEMAIN Duration 80 min · Format 1,85 · Sound Dolby Alain L’Éveillé 06 59 24 32 49 [email protected] There are two ways to be wrong, one is to believe what is not, the other, to refuse to believe that is. — soren kierkegaard A young man disillusioned and socially destructive, provoked the hatred of his sole friend before being called to faith by the uncle of the latter. synopsis Stan and Dion, are struggling in their jobs. The lat- ter only believes in the absurdity of life and exerts a certain influence on Stan. When Dion’s father suddenly passes away, Stan inadvertently excludes Dion from his place as a son, setting a terrible ha- tred. To make matters worse, Dion’s uncle, Glavkos, hires Stan as a watchmaker assistant. Stan is initiated to watchmaking, and while working there Glavkos re- veals him a reality that he is far from imagining, a world from which he is completely closed off: that of the Faith. Dion will be after Stan till he causes him to stumble. After this, Stan will begin to understand that every- thing is hidden in his own eyes. Certainties shaken, Stan is taken to the threshold of the intangible. a bet A project is of course, a bet before anything else. That of an autodidact refusing to bow to consequent pressures, to the several difficulties that cinema sets, to young direc- tors in France.
    [Show full text]